Phillip Saville’s “The Gospel of John” movie offers a unique and compelling cinematic interpretation of the apostle John’s account of Jesus’ life, distinguishing itself from typical biblical films. This three-hour screen adaptation, perfect for viewers from various backgrounds including those with agnostic viewpoints, consciously avoids the often-seen glorification prevalent in the Synoptic Gospels (Matthew, Mark, and Luke). Instead, it brings a human dimension to Jesus while simultaneously presenting persuasive evidence of His divinity. Unlike many Hollywood renditions that tend to sanitize or idealize biblical figures, “The Gospel of John” grounds its characters in reality – even Mary, portrayed with visible age, counters the common perception of flawless biblical figures. This approach is particularly effective for those who find themselves oscillating between seeing Jesus as merely a man and considering the possibility of His divine nature. He is certainly not presented as the overtly charismatic figure seen in films like “The Greatest Story Ever Told” or “King of Kings.” However, Saville skillfully weaves in miracles throughout the narrative, gently nudging even atheists and Jewish viewers to contemplate the profound possibility of Christ’s divinity.
In a cinematic landscape often anticipating potentially controversial depictions of Jesus, particularly regarding Jewish responsibility in His crucifixion as seen in Mel Gibson’s works, Saville’s “The Gospel of John” provides an interesting point of comparison. While both films acknowledge the role of Jewish authorities in Christ’s death, it’s important to recognize, as Saville’s film does, that the ruling Romans, specifically Pontius Pilate, were also instrumental in the decision to crucify Jesus. The movie’s preamble even emphasizes that crucifixion was fundamentally a Roman practice. This shared responsibility should ideally move discussions beyond mere blame and towards a deeper understanding of the historical and theological context presented in these films.
John Goldsmith’s adaptation, drawing from the American Bible Society’s “Good News Bible” (1996), remains remarkably faithful to its colloquial source. The actors’ delivery, reminiscent of Shakespearean cadence, echoes earlier filmed versions of biblical stories, sometimes prioritizing gravitas over nuanced acting. Yet, for a skeptical viewer, the film’s simple yet profound message, coupled with the stark portrayal of the Pharisees’ and Romans’ self-serving motivations as they unknowingly fulfill “God’s purpose,” can be quite captivating.
Henry Ian Cusick’s portrayal of Jesus is deliberately understated. He lacks extraordinary physical attributes and doesn’t possess exceptional oratorical flair beyond delivering poignant homilies and epigrammatic philosophical statements. Viewers shouldn’t expect grand pronouncements akin to the Sermon on the Mount. In fact, Jesus’s repeated assertion, “I speak the truth,” might ironically evoke skepticism in listeners accustomed to such declarations, potentially breeding doubt rather than immediate belief.
However, the film subtly underscores the transformative impact of Jesus’s presence. The agnostic or Jewish viewer is compelled to acknowledge the “teacher’s” undeniable humanity – a man who also, remarkably, raises the dead and transforms water into wine. It is within these miracles, skillfully highlighted throughout “The Gospel of John” movie, that the enigmatic nature of Christ as the Son of God truly commands the attention of even the most staunch agnostic or atheist. These moments of the miraculous are not presented as grand spectacles but as integral parts of Jesus’s ministry, prompting reflection and consideration.
Christopher Plummer’s narration, while delivered with an almost excessive reverence, occasionally borders on the comical, particularly when he narrates actions simultaneously unfolding on screen (“Christ stood up.”). This is certainly not akin to Pasolini’s witty and sensual “Gospel According to St. Matthew.” Instead, “The Gospel of John” movie stands as a sincere and understandable rendering of the fourth gospel, presenting a spirited Christ, distinct from the often-portrayed pacifistic figure bathed in soft backlighting.
Ultimately, our calendar is anchored to the year of the Lord, underscoring the undeniable and arguably paramount influence of Jesus Christ in human history. “The Gospel of John” movie serves as a valuable starting point for anyone seeking to engage with this pivotal religious figure, offering a pathway to understanding and contemplation, regardless of one’s existing beliefs.
